THE MICHIGAN DAILY THRSDAY, MAY
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erence Editorial Asso
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IANAGING EDITOR
irman Editorial Board
HENRY MERRY
E. COOPER, City Editor
. .....Gurney Williams
ar........... Walter W. Wilds
Editor ........Harold 0. Warren
. ....Joseph A. Russell
.M Aary L~. Behmnyer
Books.........Wmn. J. Gorman
ons .......... Bertram J. Askwith
Editor.......Charles It. Sprowl
or ...........George A. Stauter
................Win. E. Pyper
NIGHT EDITORS
er Charles R. Sprowl
ie Richard 1,. Tobin
A1 harold 0. Warren I
tee on Student Affairs and the
total failure of the Interfraternity
council to justify in any manner its
existence on the University campus.
Decisions that are totally un-
biased and unprejudiced and an
executive that shows honest and
sincere attempts at the just control
of these matters can only bring
about the continuance of the Inter-
fraternity Council. When these
have been definitely shown, this
body may take its place with sim-
ilar groups on other campuses who
have been given power an have ex-
ercised it properly.
Campus Opinion
Contributors are asked to be brief,
confining themsehes to less thai. 300
words if possible. Anonymous com.
munications will be disregarded. The
names of communicants will, however,
be regardedras confidential, upon re-
quest. Letters published should not be
construed as expressing the editorial
opinion of The Daily.
To the Editor:
OASED ROLL
SPRING
is
HERE
NOTE: The ushers for the MAY
PESTILENCE h a v e received the
following threatening admonition
which I -will print under the
NOTED WITHOUT COMMENT
DEPT.
USIC, AND DRAM
TONIGHT: The Second May Festi-
val Concert beginning in Hill
Auditorium promptly at 8:15 and
consisting of a performance of
Pierne's Oratorio "Saint Francis
of Assisi" conducted by Earl V.
Moore with Hilda Burke, Eleanor
Reynolds, Frederick Jagel, James
Hamilton, Nelson Eddy, and Fred
Patton as soloists.
'0
r
"Out of a
Spotless Service Record comes
A
(A
I
Sports Assistants
erton J. Cullen Kennedy
Charles A. Sanford
REPORTEPS
ey Robert L. Pierce
Richard Racine
eth Ntan Sei ffert
Jerry E. Rosenthal'
an George A. Stauter
John W. Thomas
John S. Townsend
rs
Ary McCall
itz Cile Miller
gargaret O'Brien
!r Eleanor Rairdon
e . Anne Margaret Tobin
Margaret Thompson
Claire Trussell
BUSINESS STAFF
Telephone 21214
TrR MABLEY, Business Manager
. IALVERSON, Assistant Manager
Department Managers
.Charles T. Kline
.Thomas M. Davis
.... ....William W. Warboys
.. . . Norris J. Johnson
.. ...Robert W. Williamnson
.MarvinS. Robacker
.........Thomas S. Muir
eretary............Mary J. Kenan
Assistants
;ey Noel D. Turner
op on. W. Lyon
wn William Morgan
than Pich.%rd Stratemeet
Davis reith Tyler
gton 1{ichard IL. Biller
ger Byron C. Vedder
er Sylvia Miller
n helen Olsen
r Mildred Postal
invisser Marjorie Rough
,rund Mary E. Watts
lire Johanna Wiese
in
RSDAY, MAY, 14, 1931
litor - DAVID M. NiCHOL
EW INTEFRATERNITY
COUNCILJ
;he annual election of a
It seems strange that C. F. H.,'
'33, in his letter about Mr. Gorman
and the Raymond Morin recital
states that he has "had occasion to
resent the series of criticisms deal-
ing in range upon every conceiva-
ble subject under the heading of
music, literature, drama and the
arts" appearing under the initials
of W.J.G. If he is capable of re-
senting those criticisms (of every
conceivable subject) on a critical
basis, it would make him "blessed"
with that same inconceivable "ver-
satility." If he is not capable of
bringing a critical mind into action
the alternative would be that his
resentments were biased and unim-
portant.
The latter seemed to be indicated
in his letter. The question on hand
is the invalidity of Gorman's re-
view ,which makes very specific
critical charges (hard .tone,, arbi-
trary shifting of tempi, insensitiv-
ity to details of phrasing and to
particular lyric passages, speciously
rhythmic effects, etc.) of Raymond
Morin's playing of certain specific
music. I, for one, do not find these
charges "spleenful diatribes" be-
cause they are specific judgments;
in addition, I find them very ex-
pressive of my own c r i t i c a l
thoughts. They possibly could be
said to be representative of a num-
ber of the audience. C. F. H. appar-l
"Ushers must wear dark suits as
much as possible."
No wonder people ignore the
May Festival.
S * * *
And now we turn you over
to WILLIE for the moment, al-
though he seems to have slip-
ped a bit. I am in a terrible
rush today and haven't time to
fill the space myself, which is,
perhaps, just as well for all
concerned.
Dear Dan,
Perhaps after all we had
best drop the May Festival and
let it lie there, a broken thing.
I feel it my duty to reward the
waiting world with the first chap-
ter of my novel, which is sated to
win not only the major and minor
Hopwood awards, but also a ticket
out of town and a police escort to
get me to the station. Hold your
breath, boys, here goes.
'Soap Bubbles on Sword Points
by Willie.
Chap 1. Little Yvonne sipped
the heady Chateau de Capone, vin-
tage of '31, and rolled her caviar
under her tongue. "Ah, what lux-
uries money may buy," quoth she,
her eyes lambent with ecstasy, her
lithe young body aquiver with joy.
"True," replied Willie vander Wil-
lie, lolling negligently upon the
silken divan. "But look, I have a
little gift for you." From the pock-
et of his perfumed lounging robe
he drew forth something which
gleamed dully of silver.
"It's wonderful," enthused Yvon-
7 ne, stripping the tin-foil wrapping
from the piece of chewing gum and
holding it up against her white
throat. Willie sprang to his feet
and in a passion-choked vo°ie?
cried, "God, but you're beautiful.
Cant you see I'm mad about you,
you little, er, witch.
"Stop," she drew herself up im-
periously, "There are some things.
even money cannot buy. These
transient joys, how swift their de-
parture! Already the caviar has
turned to ashes in my mouth."
"Well,' if you would eat it from
the dish and not from the ashtray,
it might help," suggested the scion
of wealth, with a -leer.
"You cad, you unspeakable- cad!"
sobbed Yvonne, making her way to
the door. But it was locked, and
she saw that vander Willie held
the key in his teeth.
"Come and get it," he gloated,
his body tense, his arms outstretch-
led.
president for the Interfrater-
council last night, this body
ntered on a new era of student
nment and, more particularly,
e control of fraternities. The
on marks more than the inau-
ion of a new executive for
his administration begins the,
e functioning of a new consti-
i which vests in the body a
ure of true self-government.
e new constitution under which
ody will operate is no vague
anism but is a clear-cut and
se instrument by which fra-
y affairs may be regulated. It
drawn up only after careful
leration in an attempt to se-
some definite power in this
Ition which would also be
table to the Dean's office.
en the document was ccin-
I and accepted by the officers
e University administration, it
led primary jurisdiction to the
iary committee of the Council
all fraternity matters. While
ecision which they may make
these lines is still subject to
v by the Senate Committee on
nt Affairs, it is understood
this power will be used only
event the Judiciary commit-
ils to take full advantage of
pportunities which are allowed
or that they should mistake
politics and jealousies for
e and honest judgment.
nanence to a degree never be-
ittained will be accomplished
e establishment of a definite
quarters and the creation of a
secretary-treasureship. All of
things would indicate a pro-
i future for the new body.
h, however, depends upoi the
resident, not only in his posi-
f executive for the entire body
n his position as presiding
of the Judiciary committee.
the new powers, it is more
ary than before that he be
it prejudice. The nomina-
themselves, were kept secret
hope that some of the poli-
the body could be eliminated3
gh there is still considerable
as to the success of this plan.1
ently feels otherwise about the per-
formance, which may be entirely
justified. However, the only thing
he says about it in his communica-
tion is "aside from the decidely
shaky treatment of the Pathetique
of Beethoven, Mr. Morin dealt with
1 his well-balanced program in an
able manner." That is, out of forty
lines, only four lines are pertinent,
(and are we to interpret them as
meaning that the most important
third of his playing was stinko?)
The rest is vituperation.
On top of that he is crummy
enough to say about a department
which is notably kind about the
amount of space it allows, that
"there is no space here for an ade-
quate review of the individual num-
bers."
A Review
PROGRAM
Overture, "lusitzka............... Dvorak
Aria. "On, t voien moi im < rivale" from
"The Magic Flute"...............art
Symphony in B Flat Major..... . Chausson
Aria, Caro Nome from "Rigoletto"....Verdi
Aria, "A 'h et fuhles, es ist versehwunde"
from "The Magic Flute"..........Mozart
Seherzo, "A Sketch of the Steppes of
Central Asia"..................lorodin
Aria, "Bell Song'' from "'Lkme".lelies
"LFes Filles de Cadi............... Delibes
Music B ox .......................Liadow
Last November, at the beginning
of this musical season, many of us
heard a soprano wno betrayed no
particular interest in herself as an
artist (that is, as a sensitive wo-
man), in her voice as an expressive
instrument, or in the music as any-
thing but a mildly tantalising task.
Painful memories of Madame Clair-
bert are resurrected because in try-
ing to define the virtues of the in-
comparable Mme. Pons one would
like to say that they are all those
which Mme. Clairbert lacked.
The primary fact of the evening
was the musicianship of Mme.
Pons. She at all times kept the at-
tractive qualities of her tempera-
ment, which are inevitably, if in-
tangibly, in her voice, in tasteful
reference to the music being sung.
The result was refined natural
singing, at all ti me s perfectly
thought out, at all times very pre-
cise: yet always natural because
the temperament being expressed
(or rather organized) in the sing-
ing was so natural, so youthful.
This judgment, I think, deserves
expansion. I mean to say that all
her conceptions of the music seem-
ed to have complete authority (one
can't imagine a better "Caro Nome"
for example); but that in addition,
the performances always managed-
to indicate by intangibles (the ease
of the breathing, the fresh clarity
and soft beauty of the upper reg-
ister tone, tmelack of insistence in
tonal attack, the absence of flori-
dity, of luscious alluring phrasing,
and of "histrionicism" in general)
the anature of Mme. Pons the wo-
man (the way she is inside before
and after the performance).
' It is, in fact, the peculiar inti-
macy of the performer's instrument
wit " the performer's body (and
soul) which makes this expression
of temperament so inevitable in all
sirging. Everyone has probably had
the experience of being surprised to
1ind in one's own humming or vo-
calisation of something like a Bach
piasi score personal elements that
4 sintellect knows have nothing
to do with the music of Bach but
which come into the voice against
the will. The reason why one so
frequently dislikes singing or rates
ft as the lowest form of musical art
lies exactly here. One generally re-
sent the type of temperament
4wiiz singers have. One is ap-
palled by the emotional qualities
which force themselve into per-
formances out of all rational rela-
tion to the music. Even when these
personal emotional qualities are not
in themselves distasteful (as they
were in the case of Mme. Clairbert),
they generally seem to so distort
the music that its values can not
be perceived without a certain an-
noyance which spoils the pleasure
of the experience. So one concludes
the voice is an unwieldy instrument
and singing a very minor musical
art.
It takes someone like Mme. Pons
with her innate refinement and in-
stinctively artistic reactions (as
well as her surpassingly lovely
voice) to force one to reconsider.
The temperament (or better, the
woman) which last night so deli-
cately expressed itself during the
.authentic, undistorted expression of
the music was so refreshing, such
,a warm, human thing that one is
forced to consider singing a. very
fine branch of musical art indeed.
One is grateful for an art which
when practised with such refine-
ment and such intelligence enables
us to be simultaneously intimate
with music and with a woman.
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If Campus Opinion is a poll
at which to cast one's vote, why
take forty lines about it? If it is
a place for the expression of in-
telligent thinking why not use the
forty lines (and more if you can
make the grade)?
.Then possibly C. F. H. can also
explain the musical meaning of
turning out the lights for . the
Chopin "Funeral March." And if it
were justified, wouldn't it have
been still more effective to have a
hearse on the stage. ' This could
have served the additional purpose
of symbolically burying that gen-
erally agreed upon very bad per-
formance of the Pathetique which
I for one am certain Mr. Morin
could improve upon, if, as W. J. G.
suggested, he sought "a musical
culture which can make him an in-
telligent listener to himself and
possibly a rigorous teacher to insist
that he do so consistently and crit-
ically."
I. S. R., Grad.
Editorial Comment
The trembling girl approached...
(Continued when I summon up
enough courage.)
* * *
Dear Willie:
As I look things over I can-
not but think over I cannot but
think that perhaps it was a.
for the best that your fortitude
gave out when it did. I shall
await the next installment with
foreboding and forbidding..
Uncle Daniel who is in no
mood to chase butterflies.
* * *
DAILY POEM,
Day by day with zeal unhindered
See the silver raindrops fall.t
Maybe they will drown somebody.
It's a fine world after all.
* * *
And here I turn you over
again (that side MUST be get-
ting tired by now) to another
of my little helpers.....
Mister Baxter:
I dont think you are a gentel-
man. And I feel the same way
about the ,rest of the Smart Alex
that do most of you're work for
you. I never heard of such rude-
ness, or nerve either. It is all very,
well for you College Boys to cut-up
and like that, but, Mister Baxter
I can't see no reason for you drag-
ging a poor undefenseless girl's
name in-to your Comic Strip. I
want you to understand that I
have never did anything that would
warrant such undesirable bad pub-
leity as you have been given to me
in your Newspaper.
And so I feel that to defend my-
self against this attack on my in-
telligance I am going to object, and
register a whmnlainepii to-n
4
Berkshire Hotel,
21 East 52nd Street,
New York.
Charles A. Sink, President School of Music,
Ann Arbor, Michigan.
My dear Mr. Sink.--
I have just received your announcement of this year's May Festival,
and I want to congratulate you again, as I do every year, on the wonderful
program you are to presert to the good people of Ann Arbor. Every time
I think of your May Festival and your concert programs, I think, anew,
what a marvelous opportunity you give to Ann Arbor music lovers to
hear the very finest music that is available anywhere in the world. How any
resident of Ann. Arbor could allow himself to miss a single one of your
programs has always becn a mystery to me. It would cost not less than
$6o.oo for one season ticket to each of your Festival programs if given in
New York, besides all the expense of taxis, railroads, buses, etc., and many
hours of time getting to and from the programs. But you offer the people
of Ann Arbor all these fine programs right at their doors, so to speak, and
for a single fee for the whole six programs that is less than the fee for a
single program anywhere else in America. In fact, there is no other place
where such a Festival could be head at all. To hear all these fine artists
in any city would require a whole season of waiting between concerts.
Your array of artists this year surpasses, if possible, any array you
have offered in the past, and your programs are exceptionally interesting.
The artists are all, or nearly all, so well known to Ann Arbor that there
is little to be said that would be new about them for every one of them
is an outstanding artist.
You are in great lbuck to be able to present Mme. Lily Pons, whose
singing has created a positive furor at the Metropolitan Opera House this
season, where it costs $12.oo to hear her in a single performance. No other
coloratura soprano has made such a sensation at the Metropolitan since
Patti and Melba adorned that stage. Her singing alone will be worth the
price of your whole season ticket. So, also, will be the playing of Paderew-
ski. This will most likely be the last opportunity to hear this great pianist
in America. Anyone in Ann Arbor who has not heard him, and who fails
to hear him this time, well, he will always have the lonely feeling that he
has missed something that belongs in his life's experiences; and everyone
who hear him will receive a musical baptism that will enrici his whole
existence. I could go o~n writing about the other artists on your list, for
every one richly deserve my high commendation, but space does not permit.
I often wonder, however, whether the good people of Ann Arbor appreciate
the tremendous work you perform in carrying on this greatest of all Ameri-
can May Festivals year after year for their benefit and edification. If they
are awake to what is offered them, you will not have a single vacant seat.
With kindest re ards and sincere admiration,
fti
-n
(Detroit News)
"I never knew till now," says a
Broadway columnist, "that Wash-
ington didn't throw a silver dollar
across the Potomac. It was a
stone." And when you come right
down to it, it was the Rappahan-
nock.
The Boston Transcript overheard
it on the radio:"-and listening to
this music one can almost see those
gallant Puritans on the deck of the
Mayflower as she steamed into the
harbor."
Consider, for example, the long
note in the "Caro Nome." In
Mme. Pons' preparation for and
execution of that note, it had
infinite expressiveness. The expres-
siveness is not, I think, intrinsic to